Season 2 Episode 10: 18 Miles Out

Rick and Shane are at a proverbial and literal crossroads.  Rick tells Shane exactly how he feels about everything he’s learned concerning Otis, Lori’s thoughts about Shane being dangerous, and his feelings toward Rick’s wife and unborn child.  Later, when Rick and Shane drive past the 18 mile mark to dump off the kid they saved from the walkers in town, Shane looks noticeably peeved that Rick wants to find the kid a place that gives him a better shot than  just out in the open.  They find a county building that seems safe enough.  They take out a couple guards turned walkers, but neither guard has an obvious bite mark that would show how they turned.

Back at the farmhouse, Beth’s physical health is improving, but her mood has deteriorated into depression.  Lori discovers Beth has taken a knife with the intent on killing herself.  As Maggie and Beth loudly hash out that situation, Lori and Andrea have a fight about whether it’s right for her to kill herself and who is contributing what around the encampment.  When Rick and Shane drop the kid off, the kid reveals he knows Maggie and the other Greenes.  Knowing he’s aware of where they are, Shane pulls his gun to kill the kid in the interest of safety, but Rick stops him.  The two men argue about how things are and what that means in regard to surviving which leads into a fist fight.  When Shane tosses a wrench through a window, all the walkers inside the facility.

Andrea takes over watching over Beth for Maggie, but gives the girl a chance to make her own decision about what she wants to do.  Rick also makes a decision while Shane is cornered in a school bus with the vast majority of the walkers going after him.  Rick takes Randall and leaves Shane behind.  Rick changes his mind after seeing the two guards and saves Shane, but not without issuing one final statement about Lori, Carl, and the unborn child.  When Maggie comes back to check in on Beth, she’s locked in the bathroom and has slit her wrist with a broken mirror.  Andrea was looking after her and perhaps Andrea’s own way of having people make their own decisions has made her every bit as extreme as Shane in how she goes about proving her points.

Let’s just get this off the table right now…  Are all of you moaning and groaning about the lack of zombies satisfied now?  Who am I kidding, probably not, but considering more than half this episode featured a heated fight between Rick and Shane that unleashes a couple dozen zombies, I don’t want to hear one person say this episode didn’t contain some sort of excitement.

Okay, that’s out of the way.  Let’s continue shall we?

This episode is a prime example of why any reader of the comic (especially from early on) cannot truly know what to expect.  First off, we all know Shane has outlived his printed counterpart, but his character is far better explored in this series.  I didn’t expect that.  Shane was an early threat in the comic, but his jealousy never quite reached these heights.  His emotions are charged so far to try to kill Rick when they are in a fist fight instead of trying to calm the situation down.  Watching Shane for 16 episodes now is kind of like watching a ‘roid rage.  You’re never quite sure what he’s going to do next, but you can pretty much bet that it’s going to be way more than necessary.

Next, it’s about as unexpected as it can get to see Andrea play out as she has this season.  Without a doubt, Andrea is a character in the comics that ranks very high on reader’s “like” lists.  She’s tough, she’s steady, and while she always carries the scars of losing just about everyone she’s ever loved, she’s never wavered from being as good as, if not better, than Rick at knowing what’s right.  Granted, this is without a doubt changed by Shane living this long, but this Andrea is almost unlikable.  She’s defiant when she shouldn’t be.  She’s influenced easily by someone whose trigger finger determines his manhood.  Worse, she’s willing to let a young girl kill herself if that’s the path chosen after a severely traumatic experience.  She’s cold.  Just a couple episodes ago, she confronts Shane about the way he goes about imposing his will, and yet, she’s almost as tactless.  It’s almost painful to watch her become this way.  However, it is definitely making for juicy possibilities.

Finally, as a guy who has always hated Lori as a character, I’ve always said that I like how Sarah Wayne Callies plays her part.  It’s tough to be a character almost everyone has disliked for their own reasons, but the portrayal was spot on.  After seeing this episode and finding out more about how she sees her character, I’m simply surprised how much the writers put their foot down on the “stupid” throttle.  In Lori’s confrontation with Andrea, despite how unlikable Andrea is becoming, Lori comes off sounding a little stupid.  She seems to want to display some sense of authority or strong will, but she’s often proven to change her mind and positions like how I change underwear – whenever I’m confronted with a sticky situation.  There seems to be no sign of her understanding how bitchy and overbearing she comes across as.  To her, whatever suits her needs is how everyone else should live, but when someone makes a halfway plausible excuse for her actions, she starts agreeing with that person (as seen when Andrea explains that Beth had to make her own choice to which Lori somehow agrees with despite just fighting with Andrea over the very same topic of choice).  It’s a classic routine for someone who wants to exude control and confidence, but has neither in herself.

Despite being hit with the above examples of surprise, I absolutely love this episode.  Maggie, who isn’t as strong in the comic as she has been in this series, is a joy to watch.  She’s tough and smart.  She seems almost unafraid of facing this world even though she’s faced some pretty hairy situations.  Her understanding of the world around her is mature and she’s not willing to give up on the chance of finding some sort of life in it.  In the comic, you are drawn to Maggie through a sort of sweetness to her and Glenn’s relationship.  In the series, you are drawn to Lauren Cohan’s Maggie through more than physical attraction or wanting her and Glenn to find some happiness, but because she comes off as one of the most level headed characters in the entire series.  She’s seen the good and the bad, and she’s folded it into rationality and logic that positions her in a much better role as a matriarch than Lori and the other characters around her are reacting positively to it.

Of course, Rick and Shane’s adventures at the zombie-infested public works facility is some of the most exciting stuff we’ve seen in this entire series to date.  I have to rank it up there with that last scene in the very first episode with Rick getting overrun in Atlanta and seeking shelter in a tank.  It’s survival in close corners.  Yeah, there have been other scenes like this (Shane and Otis in the school being one example of a tight quarters type of escape), but this one has a lot more going on.  Rick and Shane can’t be more opposite than they are at that exact moment.  There are walkers pouring out of a building.  There’s Randall fighting for his own survival as he’s hogtied with a walker closing in.  It’s this sequence that reminds us that “Oh yeah, this IS a horror show.”  I will always defend that every genre, be it horror, sci-fi, comedy, action, or whatever, begins and ends with solid characters.  If the characters are enough for you to identify with, or at least enough for you to care about, naturally there will be some sort of drama or inner conflict or generalized tension between them, but there will always be moments when you’re snapped right back into that genre.  This episode excels at reminding us that if you travel outside your safety zone, the world has gone to shit and monsters are everywhere.  All these moments from building characters to having them exist within the world you’ve created (based on the genre you’re going for) is textbook Creative Writing 101.

The more you let these characters come alive, the more exciting it is when you do get back to the core genre they exist in.  That goes beyond textbook Creating Writing 101.  That is textbook Walking Dead.

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Vampires are cool. Not the shimmering ones though. Today I will be reviewing X-Men #25. Please leave a comment to let me know what you think.

X-Men #25

So let’s talk about the book. First, a quick review of issue #24, which I failed to review last month. Jubilee ran away with Raizo Kodo and the Forgiven, his crew of Vampires. They are trying to convert her to their way of thinking and surviving without having to kill. Jubilee resists at first and even runs away but eventually returns to Raizo for help. Onto this issue. The X-Men are finding vampire dens and destroying them . however, none of that leads them to Jubilee. Then, with the help of Madison Jeffries, they arrive at an island that is the lair of the Forgiven. Breaking into their base, the X-Men are confronted by Raizo and the Forgiven. They battle back and forth until Jubilee comes out and breaks up the fight. Before any further hostilities can occur, Colossus shows up with two hit men. It seems there is an open contract on Raizo Kodo and a small army of murderers, hit-men, killers and assassins have arrived on the island to collect. And that’s the book.

So let’s talk opinions. If you’re a fan of character growth and whining and preaching, then last issue was stellar for you. That was basically the entire issue in a nutshell. Jubilee dealing with being a vampire and Raizo trying to show her the light. (Yawn. Snore. Who cares?) It’s just a sad thing when absolutely nothing happens for an entire issue and I have to pay full price for it. Let me sum up that issue in one sentence. Raizo tries to convert Jubilee, but with no success, until she realizes that she wants to change. The end. Another complete waste of an issue. At least this issue had a little bit of action to move it along it’s intended path. I also really loved the plot twist at the end. The battle between the X-Men and the Forgiven was pretty cool. What I fail to understand is that if they decimated camp after camp of vampires in minutes, why was it so hard to beat this pack? (Other than the fact that if they did, there would be no story to tell) Does being non human eaters make the Forgiven some super vampires? Do they have skills the rest of the vampires don’t? (Hey, maybe that would be a great story to tell instead of having an entire issue of bitching and moaning) I’m just not feeling the story being told here. There’s just no substance behind the hunt. No consequences to the X-Men’s actions. (Seriously. They just wiped out a small army of vampires and there is no response or retribution coming from the rest of the vampire nation? Somehow I doubt that) In any case, the story is ok but hollow. Hopefully next issue’s war will be spectacular to watch and then we can move on to a new arc. So far the last two have been very weak. At least the art is still top notch. Everyone looked amazing and the battle scene was really cool. Nice detailed backgrounds and line work also added to the overall visual enjoyment. At least the book has that going for it. That’s my opinion folks. Take it or leave it.

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It’s only cheating if you get caught. Gambling 101 at the Jean Grey School for Higher Learning. Today I will be reviewing Wolverine and the X-Men #6. Please leave a comment to let me know what you think.

Wolverine and the X-Men #6

So let’s talk about the book. Quentin and Wolverine head to another planet for some friendly interstellar gambling and debauchery. Using Quentin’s telepathy and high intelligence, the two are able to cheat at the tables and win lots of money. Too bad their good luck does not go unnoticed as the casino manager sends a bunch of goons to beat them up and take back their illicit winnings. A brawl erupts. Meanwhile, back on Earth, the alien arrives at the school as the X-Men are fighting Brood parasites inside of Kitty. The school mounts a defence and manages to eliminate all of the invading Brood, but the leader gets through and reaches Kitty. Unfortunately she is not the target as the alien leader goes after Broo with intentions of murder. As this is happening, the X-Men manage to fight off the parasites inside Kitty but they come back in droves and overrun them, turning Kid Gladiator into one of them. And that’s the book.

So let’s talk opinions. Bafore I begin, I would just like to share some terrible news. I hope it saddens you as much as it does me. Turns out, in a few issues, Chris Bachalo will be returning to the title. He will be given back the artistic duties for the Avengers vs X-Men tie ins running through this series. Let us all share a moment of silence for this sad, horrible, event. OK, sadness over. There is nothing we can do to avoid this torture that Marvel will be putting us through so we must all act like adults and suck it up. Let’s discuss this issue and it’s overall awesomeness. I loved this issue from beginning to end. There was action and humor aplenty. I loved the interaction between Wolverine and Quentin. Jason Aaron is really top notch on his sarcasm skills. I’m not sure if Wolverine sees Quentin as a pain in his ass or a younger version of himself that he is trying to mold. What I do find really coincidental was that Wolverine was not on Earth when the alien launched his attack on the school. As the headmaster, he really should be stepping into the Cyclops role as the first line of defense against all invaders. Not that the X-Men or the school cannot defend itself. Krakoa did a hell of a good job as did the danger room. I love that Jason is not forgetting anyone and has no problem showing all of the residents of the school. Makes him seem aware of the big picture. Also, I’m incredibly curious as to who or what this alien is. I’ve never seen him before, or if I did I forgot him. He seems to have a hatred for Broo so I’m guessing maybe he’s related to him in some way. Hopefully we get some revelations next issue. As for the art, all I have to say is awesome. So many different characters and they were all drawn distinctive and clear. I love the casino. Nice aliens. The action was also very well laid out. A perfect job overall. (Damn shame that perfection will end soon thanks to Bachalo) That’s my opinion folks. Take it or leave it.

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Mera goes in search of dog food! (Not as fun as it should be)

Aquaman #6

Well this month we get to see more of Mera as Geoff Johns decides to try and define her character. The issue stumbles immediately and what we get is nothing more than an exorcise in terrible and contrived characterisation.

Now it isn’t all bad. Mera is still an infinitely more interesting character than Johns’ emotionless and stoic Aquaman. It maybe an utterly over sentimental moment, but the scene near the end when Mera is given dog food by Jennifer (who works at the grocery store) actually entertains. It’s not amazing but at least works. Also the team of Ivan Reis and Joe Prado deliver the necessary goods when it comes to the art. Not as spectacular as Reis on his own, the issue still has enough inspired art to at least make it a nice visual read. When Mera first summons the water in the grocery store it’s a nice image, which sells how powerful she is.

But the book is filled with concepts and characterisation that just offend. The whole flashback idea of Mera’s father sending her to kill Aquaman, but ultimately she changes her mind is so ill conceived it’s tragic. Overtly familiar, thanks to a Supergirl storyline pre-reboot, it just doesn’t go anywhere. It adds nothing to Mera’s character that makes her stand out as anything other than a woman in love, who is conflicted by her feelings for her evil father. Obviously this is set up for later storylines, but it is so heavy handed and over used that it holds no interest.

The moments at the grocery store and outside the house with the gunman are just as insulting. The actions of the pervy store guy are so overblown it is more comical than it should be. He is a caricature of a serious problem, and although he is dealt with in perhaps the right manner, the whole moment just leaves a bad taste. Especially when you include the reactions of the other customers and security guard. All are over the top and sensational, making Johns writing no better than tabloid journalism. There is no common sense in these scenes and this leads onto Mera.

She seems to come across as a bit stupid. Not because she doesn’t understand how to interact with humanity, but just due to her general demeanour in the script. The “lost in translation” character depiction is an easy one to get wrong as most writers need to balance the naivete with frustration. But Johns just has Mera react with anger far too quickly and for no better reason than she doesn’t like things. To be fair to Mera, you can’t really blame her for her actions when faced with johns army of ignorant and stupid human characters. But at the end of the day her actual characterisation is just unbelievable and over the top.

Whereas the art works and one scene isn’t all too bad, it is not what you expect from a comic that seems to do well in the sales charts. Much like the bombastic and meaningless Michael Bay directed Transformers films, Aquaman trundles on with absolutely no purpose. It’s characters come off more like caricatures than believable protagonists and it is a shame. You can target a large market share and still deliver intelligent, well structured and entertaining stories. But Johns has forgotten this and has decided on delivering the lowest common denominator for his easy to digest issues. For this title to have such a high profile is as depressing as knowing Transformers: Dark of The Moon was one of the highest grossing films of last year.

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Well Ms Kyle definitely has a rough time this issue.

Catwoman #6

When Judd Winick wants to he really does throw in some surprising and brutal ideas into a comic. On a whole Catwoman has been an interesting mixed bag of a series. On the one hand Selina has become a very intriguing and multi layered character who is on the most intense downward spiral any comic character could be on. But then we have narratives and supporting characters that are never truly enthralling and on the most part don’t always work. This is indeed true of this issue.

Selina is well and truly the star here, not overshadowed by anything else in the book. Her captivity is engaging and her defiance in the face of her captors just reinforces the most likeable of her character traits. She’s full of sass, anger and despair. It’s a combination that makes her possibly one of the most interesting female characters of DC’s new 52. It’s a shame then that she’s involved in such an average narrative.

The bent cop angle and super powered muscle for hire is over familiar and just doesn’t have enough about it to make it interesting. Yes there is a moment of extreme violence in the scene between Reach and Selina, which will be a lot of peoples only memory of this issue. But at the end of the day the only real interesting part of the whole scene is Selina’s dialogue and reactions. The actual plot just doesn’t go anywhere. There is a spark of intrigue between Batman and Selina, but it descends into a farce as Batman becomes perhaps far too emotionally involved and hysterical.

Guillem March continues to display his usual dynamic flair. As always his Selina is a flawless representation of fury, grief and danger. Her emotional range is meticulously depicted by March and much like the script, Selina becomes the single most distinct aspect of the book (which is how it should be). Arguably the earlier brawl with Reach will be seen by many as the most interesting fight, but it is the Batman/Catwoman tussle that stands out. Brutal, well choreographed and really focused it is a succinct moment that defines the idea of scorned lovers fighting each other. Although at times Batman does seem a little psychotic (the red tinted panel for example), it does enough to become the best set piece of the issue.

So whilst Selina is continuing on her journey to becoming the most interesting female character at DC, she has yet to star in a story worthy of her prowess. It’s a shame that she didn’t take the money and leave Gotham as it may have opened the book up to new possibilities. But at least Batman might not be part of the comic for a while and we do have a new supporting cast member which has potential. We also have March’s wonderful pencils, and with Winick’s fantastic grasp of Selina’s character it is still an enjoyable read.

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A change of artist damages an otherwise entertaining issue

Batwoman #6

It happens often enough. You’re really getting into a comic and you’ve been singing its praises for months. Then the art team has changed and something happens. It’s not as if the actual writing has changed or the narrative taken a turn for the worse, but as the art changes you can’t help but feel a little disappointed. With this shift in art comes the realisation of just how important it is in the comics medium. Batwoman #6 is a prime example of this.

It’s not as if the art is hideous or messy. In fact Amy Reeder’s pencils are clear, clean and expressive. But it is the cartoony aspect of her art that really doen’t suit the established tone J.H. Williams achieved. Yes it is unfair to compare Reeder to Williams, who has made Batwoman something special each month, but you can’t help it. Gone are the realistically depicted Gotham residences and in their place we get the over weight nurse, crying mother and deformed hook handed man. Each one would look comfortable in a Disney film or Saturday morning cartoon. It’s a jarring shift in art and for the most part it pulls you out of the narrative.

But perhaps the biggest problem with the art is how it shows up some of the average narrative story telling on display. Before Williams’ art has complimented and enhanced the narrative. W. Haden Blackman and Williams have always delivered solid narratives and they have been full of emotion and character. The same can be said of this issues script, but with the addition of Reeders art there is a sense of disconnect. The narrative no longer feels as emotive as before, the cartoony faces no longer displaying the range of believable emotions the book needs to sell its character beats.

To be fair there are some great ideas and moments on display. Batwoman’s new suit distinguishes her more from her Gotham peers, Jacob visiting Bette in hospital is a nice interlude, the banter between Agent Chase and Batwoman is fun and the moment with Kate and Sawyer continues to develop that relationship. Each aspect is solid and works well. But there is one scene, where a mother confronts Sawyer, which seems a bit too much as the mother really goes for Sawyer. It really seems to miss the mark even if its place in the narrative is understandable.

So, on the whole this issue just doesn’t fly as high as Batwoman’s previous outings. But it isn’t all bad as the narrative still works. However with Reeder on pencils it looses it’s identity and with that it’s emotional connection. Her art isn’t bad it is just not suited to the world Williams and Blackman have created.

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Our heroes are dead and Hell is soon to take over Las Vegas, and then, the world!

Venom #13.3

So last review issue I bitched about meaningless deaths in comics. I stated that the deaths of issue #13.2 wouldn’t outlast the story arc that they occurred in, and it looks like I was right. It seems like next issue is set to revive our characters through a pact with the devil. This issue and last both have their merits, but honestly I think they could have been condensed to one. This issue doesn’t do a whole lot to move things along but it does have it’s moments.

First I will say that the art this issue was an improvement. The color and style fit consistently with the rest of the story aside from last issue. The big thing that didn’t fit last issue was the coloring scheme. Even with an art style that is drastically different than that of a previous issue, it can almost seem right at home with consistent coloring. Mr. Tedesco is a decent storyteller with acceptable rendering that gets the job done without being too flashy.

Now on to the story, this one does have some key moments. We get to see our heroes hopes and dreams, which I think is pretty effective. We have already been shown the antithesis’ of these characters, and too see their hopes next to their fears within a few issues helps give a well rounded perspective on each of them. Though with all that is good must come a bit of the bad it seems. The characters make a deal with Mephisto, you know, the Devil. And they do it pretty much immediately after he lays it on the table. The deal is to work for him to accomplish a goal at a time of his choosing, and to me that seems way to vague. Mephisto could give them all a ring next week and ask them to murder some babies for his enjoyment, and they would have to do it! But wait, maybe that’s the point. Yes, maybe Mephisto will call this rag tag group of anti heroes together for a mission they morally cannot not commit to, and together they must find a way to defeat the lord of darkness! I demand royalties when we see that story line 12 months from now. I do kinda of just wish this issue didn’t exist to be honest. The Mephisto bit really doesn’t work for me but the characters seeing their dreams as torture does. Maybe if it was just a battle tactic of Blackheart himself and the characters never die, (thus never meeting Mephisto,) it would have worked better for me. Here’s hoping the last 2 parts bring in to a satisfying conclusion to make up for this mediocre middle section.

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Brubaker’s Cap Magic Slowly Slipping Away

Captain America and Bucky #627

With each passing issue, I can feel Ed Brubaker’s influence slowly slipping away, and pretty soon his run will end.  As I read this issue, it felt as if Brubaker is sitting back and watching over James Asmus’ shoulder and nodding his head.  At this point, the book is Brubaker-esque.  It’s like watching a dying king reading his last edicts as he slowly slips into death.

Francesco Francavilla was one of my favorite artists of last year.  His run on Black Panther with David Liss was a surprise hit, and his art style works seamlessly here as well.  The monochromatic color schemes, the stark outlines, his habit of hiding character’s eyes, match the tone of the book that Asmus and Brubaker are trying to capture.

We get a glimpse of who is behind the army of “Cap killer androids,” and it appears to be a planned conspiracy orchastrated by someone in the military.  Turns out, the duplicate Bucky was just a ruse put on by the “brother” of the original Human Torch, Jim Hammond, so that he could replace Captain America.  By the end of the story, this “brother” has defeated Steve Rogers, donned his uniform, and looks ready to do some damage.

One gripe I have about this issue is that it wasn’t what was advertised.  This issue was billed as “Captain America vs. an army of Cap killer androids,” but Captain America only fights this “army” for one page.  That’s not a problem in itself, it was just a little misleading.  And don’t feel bad if you can’t keep all the character’s straight: Fred Davis, Naslund, Naslund III, etc.  I finally got it this time.

Overall, a very good issue, and I’m still hungry for more.

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The mind games and tactical maneuvers continue as Wade seeks his own death. Today I will be reviewing Deadpool #51. Please leave me a comment and let me know what you think.

Deadpool #51

So let’s talk about the book. X-Force engage in battle with Typhoid Mary and the Hand in order to find one of the snipers who killed Evilpool. The battle is fierce and X-Force manages to win, but Typhoid Mary gets away and returns to the Kingpin to report her failure. Wolverine learns that it was Daken who killed the sniper. Then the games really begin as Wade starts putting his master plan into motion. He gets X-Force to believe that he is in control of all the chaos he started and has them join him in finding Daken. He sets Tombstone and the Kingpin against each other by using Hydra Bob to drop some helpful hints. Meanwhile, Daken, who has been tracking Tombstone, steals his car and his driver and heads to the lab where the anti healing factor serum was created. By the time Tombstone arrives at the lab, it is up in flames. And that’s the book.

So let’s talk opinions. In all honesty, this issue was definitely not as good as last issue but it wasn’t entirely awful. I really was expecting a lot more action to happen but we really only got a few pages of decent battle. (Typhoid Mary’s final words to Wolverine were awesome) the rest of the book was just talk and posturing. It sets up a lot of different situations. With all of the plotting and moves being made by Deadpool, without any revelations as to  what the plan actually is, the book starts to get really confusing by the time it ends. There’s simply too many things going on. Everyone has a plan but we don’t know what any of those plans are. I’m still not sure why X-Force,the Kingpin, or Daken are even needed in this story. Are they just here to increase the amount of opposition. Is there some comedic reason to include them? Usually, when there are guest appearances in a Deadpool book, the story revolves around some humorous necessity for them. This issue had almost no humor. No real inner monologues for Wade. No sarcastic asides or visual slapsticks. In fact, Wade has never been more sane or serious. He’s downright vicious, like when he first appeared way back when in X-Force #98. In a way, I’m actually getting nostalgic. I really hope that Way continues this path for Wade and keeps him in this frame of mind after this story arc ends. If Wade starts to take himself more seriously, then maybe the fans can start taking him seriously again too. After the way he has been portrayed over the past year in books like Deadpool Max and Uncanny X-Force, his image needs a remake. This cold, calculating, vicious version of Deadpool is exactly how I want to see him. Keep up the good work Daniel Way. I’m still not sure if you plan on killing Deadpool and doing some sort of hell story arc, which would be pretty cool, but I’m loving this one so far. Moving on to art. Incredible once again. Lots of known characters all drawn really well. Great expressions. Nice, detailed backgrounds. (Still think the Kingpin’s head is too small, but at least it’s consistently small) Overall, another great issue. Let’s hope the next one is the same, but with tons of action. That’s my opinion folks. Take it or leave it.

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The battle for Otherworld kicks into high gear and Fantomex gets a blast from his past. Today I will be reviewing Uncanny X-Force #22. Please leave a comment to let me know what you think.

Uncanny X-Force #22

So let’s talk about the book. Wolverine and a newly healed Deadpool infiltrate the castle of the Goat with a promise of death. Too bad he’s well aware of them and is not scared in the slightest. While this happens, the armies of the Goat are decimating the forces of Captain Britain and his corps. A huge force of Dragons are also sent to attack the last resistance fighters that are being defended by Meggan and Nightcrawler. Meanwhile, Psylocke pays the price for Fantomex’ survival. A price yet to be revealed. As they are fleeing to the portal to Earth so Fantomex can escape, they are intercepted by Weapon III, a man with no skin, who has a long history with Fantomex as they were created by the same program. Caught unprepared, the two are easily defeated and captured. It seems that Fantomex was the reason Weapon III lost his skin and also the one who stole it afterwards. Weapon III begins to torture Fantomex to find out his skin’s location. He starts by cutting off Fantomex’ face. And that’s the book.

So let’s talk opinions. The series that was getting better and better over the past year just keeps sliding downhill. There really is no better way to describe the catastrophe that this story arc is. I am so incredibly bored and confused that I seriously don’t want to read next issue. Simply put, this story is just bad. Not too mention that there are way too many things going on and all of the jumping around from situation to situation with absolutely nothing happening each jump is really dragging the pacing into the ground. Basically, other than the Fantomex portion, nothing else happened. Everyone split up and got ready or into battle. (Nice to see Deadpool back and actually used, by the way. Even correctly used, which was a shock) I just don’t seem to have any connection to this story arc. I don’t care one way or the other. The horrid art definitely contributes to that feeling. It actually makes me want the book to be over faster so you just flip the pages, read the words, and ignore the ugly pictures. It’s all just an over-jumbled confusing in-distinctive mess. Everything just seems to be splotched together with no consideration for individuality or detail. The one splash that was actually fairly well done was the last page face lift image. That looked both awesome and incredibly nasty. Great cover too, once again. In fact, the only saving grace in this story arc is the introduction of Weapon III. I love this guy. He’s completely insane. Here is a villain that I can actually see as a valid mutant threat. Not some magical ridiculousness like the Goat. Leave that stuff to books like Excalibur or Avengers. In this title, we need mutant threats. Nothing else. I pray this story arc ends soon as I’m almost at the pinnacle of suffering and I don’t know how much longer I can take it. That’s my opinion folks. Take it or leave it.

More X-Force @ acomicbookblog.com/tag/x-force

All of this weeks comic book reviews (links & more issues will be updated as reviews are posted):

DC Comics

All Star Western #6

Aquaman #6

Batwoman #6 (playing catchup)

Catwoman #6 (playing catchup)

Justice League Dark #6

Superman #6

Marvel

Avengers Academy #26

Captain America And Bucky #627

Deadpool #51

The Mighty Thor #11

Secret Avengers #23

Uncanny X-Force #22

Venom 13.3

Wolverine and the X-Men #6

X-Men #25

More Comic Reviews @ acomicbookblog.com/category/reviews/

It’s time for the students to make a choice.  Will it be Avengers Academy or another path to their futures.

Avengers Academy #26

Jocasta is alive, and with Veil, has come to Avengers Academy to shut it down.  However, the duo isn’t alone.  With them comes Jeremy Briggs, a super rich and idealistic kid who wants to plunder the Academy to guide these students into a line of work that bucks the old idea of people with powers being a force for good or evil.  Briggs has already recruited a load of former Initiative kids, and now, he’s giving Hank Pym’s students a choice…  Come with them to do real good for the world, or stay behind and face the greater risk of being injured or killed.

Christos Gage comes out of an arc that saw the students nearly killed by Hybrid and slows the tempo down.  There’s stuff to be dealt with now.  The first few days of the new Avengers Academy on the campus of the old West Coast Avengers compound wasn’t quite positive.  The class president, Reptil, was possessed with his future self’s mind.  On top of that, his intentions, while the part of having the original class come together as a cohesive unit 20 years into the future was good, he was willing to bring Hybrid onto campus to kill several of the kids to achieve his goal.  All this and Jocasta comes back to forcibly shut down the Academy in favor of Briggs’ ideals.  Things aren’t exactly going smoothly for Hank Pym.

While this book doesn’t have the action the last few issues had (obviously, I couldn’t expect this story to contain the horror elements of the Hybrid arc), there’s definitely a crossroads reached for this series.  For 25 issues, Gage has molded these characters and put them through attacks, in fighting, committing murder, and lastly a monster set on eating them, now it’s time to figure out where the next 25 issues are going to go.  There’s a closure reached with Veil.  She’s made her decision to use her capabilities to make the world a better place.  She has decided she doesn’t want to be a superhero and fight bad guys.  She wants to be a champion for the betterment of the whole world.  As much as there is a closure, there’s a potential threat on the horizon with Briggs.  Will he be a villain?  Maybe not directly, but he represents an ideal that is completely counter to the experienced Avengers like Pym, Hawkeye, and Quicksilver.  He can be a string puller, but more importantly, he’s the competition.  No one is really even sure he can be trusted.  Is his good nature an act?  Is he filling impressionable kids’ heads with a bunch of nice, slick talk, only to pull the rug out from under them?  Only time will tell, but he’s definitely one thing this series hasn’t always had a chance to focus on – a main “antagonist” of sorts.

Plus the end of the issue certainly keeps the future versions of the original class around with a somewhat surprising mentor.

More @ acomicbookblog.com/tag/avengers

The Mighty Thor may be forgotten, but he’s long from gone.

The Mighty Thor #11

Thor has rallied a couple other gods to take on the Demogorge for their freedom.  Meanwhile, Loki tries to force Silver Surfer to remember who Thor was to no avail…  Until Loki reminds Surfer of the time Thor head butted him so hard it left a dent in the herald of Galactus’ forehead.  They go to find the weird sisters to start setting things right, but the Norn Queen has already struck.  She slices Kelda and her other sister up as a sacrifice and commands the troll armies to attack just as Asgardia rises above the ground.

This is a really exciting issue.  As much as I really would have liked to keep the secret of Tanarus that way until this issue, it’s still working well as a story.  Thor is fighting his way back to Earth.  The time for the invasion of Asgardia has come, and there appears to be some death being dealt by Karnilla in an unexpected manner that actually shocks you from being unexpected.  Overall, Matt Fraction’s story is pretty exhilarating.

If I had one thing I could say is a bit of a negative is how this story and the post-Fear Itself issue evolving around Bucky effects the overall story of Fear Itself.  Bucky died in battle, only to be brought back a short time later.  Thor had to sacrifice himself to kill the Serpent as written, but he’s coming back quickly.  While Ed Brubaker’s Winter Soldier has been awesome and Fraction’s own Mighty Thor has been a good arc rolling straight out of Marvel’s big event of 2011, it’s almost happening too fast.  The threat of Fear Itself was palpable.  There were freaking Nazi war mechs rampaging through Washington, D.C.  That’s the type of thing we all want in a comic book.  Moving beyond the event, a lot of the things that took place isn’t leaving as much of an impact.  It really puts the perspective of Fear Itself into question.  Was it  more of a solid Thor arc than a company-wide event?

All that said, this arc has been not only well written, but it’s also been a lot of fun.  This is the type of stuff a Thor story is best at.  His more cosmic type of stories are fun and what long time Thor fans want.  I mean, he’s trying to escape from, and kill a giant space worm that eats gods and make turn them into forgotten concepts.  That’s what I want to see Thor do.  That’s the Thor I grew up on.  Sure, he’ll mix it up with earthbound heroes or have adventures that takes him across more lush or earthy landscapes, but these sorts of far out ideas are exciting and takes me back to the stuff I loved reading as a kid.

Pasqual Ferry and Pepe Larraz’ art with Frank D’Armata’s color makes this a very pretty book to read too.  Each scene has its own unique look and color scheme.  There are gods of different shapes and forms and the inside of the Demogorge itself has such a cool look to it.  The two page layout of Asgardia is simply gorgeous.  Everything about this book is fun and has ideas and images that makes it a truly unique book from Marvel.

Next issue wraps up the Tanarus arc with what’s surely to be a pretty cool fight between titans.

For more THOR visit http://acomicbookblog.com/tag/thor/

Jonah Hex figures out one mystery, but begins a new chase in All Star Western #6!

All Star Western #6

In this month’s main feature, Jonah Hex and Dr. Arkham have gotten away from a tribe of Indians thought to be extinct, only to run into a giant, prehistoric bat!  After Hex kills and decapitates the monster bat, they have earned the respect of the bat men tribe.  They are shown the way out of the underground caverns which happens to be right at the front step of Wayne Manor.  They get help and bust up the child slave labor camp that was underground, and things become clear to Hex.  The man behind it all was the father of the very child they were looking for to begin with.  They learn that Moody has escaped to New Orleans.  Hex sends message ahead to old friends Cinnamon and Nighthawk that he’s coming for the escaped criminal.

This particular issue from Justin Gray, Jimmy Palmiotti, and Moritat shows exactly how cool and great this series has been.  Right away, we have Jonah Hex battling a giant monster bat (not something I’d ever expect, but so thankful to have seen).  The fight doesn’t last long, but it doesn’t have to.  The real magic of this issue is what happens next.  As brutal as Hex can be as the world’s most infamous bounty hunter, he’s also incredibly intelligent.  He proves that a character doesn’t have to be a Bruce Wayne to understand a world in a way that remains hidden to others.  It’s that Hex travels in both the light and the dark and can understand not only what’s the right thing to do or the right way to live, but also how a cold blooded criminal may think.  When you get right down to it, that’s what makes Hex fun.  He’s rough and tough, but has a sharp brain knows how to get results.

Moritat’s art is incredible.  There’s a beauty to it that isn’t expected.  There’s a grit to it but it’s so damn gorgeous all at the same time.  The title page proves his talent.  Yes, it’s freakin’ awesome to get a full page of Jonah Hex squaring off against a giant bat, but it’s more than just what you might see on a Meatloaf cover that’s overly fueled with dark testosterone.  It’s dynamic and something that transcends a rock and roll cover.  It’s just freaking awesome.  Then, what starts with a giant bat, ends with a truly beautiful full cover page with Cinnamon and Nighthawk that has a completely different effect.  It’s softer, and more fitting for classic western characters.  It’s a type of image that when it came, I immediately got excited for the next issue.

In the back up Barbary Ghost story, Gray and Pamiotti’s new Asian heroine finally gets her revenge when she finally tracks down her sworn enemy.  She learns that her mother is alive, but when she’s unable to get her whereabouts from Bo, it doesn’t stop her from taking her final revenge against him.

This backup story, much like the El Diablo story in issues 2 and 3, is short, but there’s a classic feel to it.  These types of quick hit stories was a staple of old DC and Marvel anthologies of the 70s and early 80s.  While they aren’t as deep or decompressed as the comics we read these days, they give just the right amount of story and action in their fast paced format to be entertaining.  I guess a good way to approach a back up story is to not expect anything that would be on the same level as the main story.  They are short format for a reason and they are written to be just that – quick and fun.  Phil Winslade’s art in the Barbary Ghost story is not only fits the story well, but also fits the series too.  It looks like it belongs in All Star Western, but it also fits the art style of those old anthology books.  That makes the entire series feel like I’ve gotten a box full of old western books and it makes the experience reading it all that much more fun.

More Jonah Hex @ acomicbookblog.com/tag/jonah-hex

Justice League Dark has reunited!  But can they stand each other enough to stay together or will they risk death to stay independent?

Justice League Dark #6

Each member of the JLD is having horrific nightmares.  Constantine is forced to watch London burn.  Zatanna is chased by a spell gone wrong.  Deadman is haunted by the death of Dove.  Shade the Changing Man is tortured by his loneliness.  They’ve all converged at Madame Xanadu’s home to learn more.  She tells them that these nightmares are both the residue of their fight with the Enchantress and the possible futures if they do not find a way to stick together.  They manage to stand united just enough against Shade’s latest attempt to create a version of his lost love.  Xanadu is in the process of telling them what their next move will be as a team when she’s struck by the frightening effects of Andrew Bennett, the master of DC’s vampires, being killed, leading to their crossover with companion horror book I, Vampire.

This book continues to surprise the hell out of me.  This is a set of characters that I’ve had so little experience with (to the exception of Zatanna whose books I read prior to the relaunch), but continues to captivate and satisfies every bit of desire I have for a horror book starring superheroes.  While the debate can continue whether or not these characters are truly “super” heroes, but their powers are central to fighting back evils that the regular Justice League can handle.

Add to that, they can’t stand each other.  Sure, Deadman and Zatanna may not have anything against each other, but the inclusion of Shade, who might be insane, and Constantine, who is definitely best described as an abrasive character, adds tension to the point where they just don’t want to be around one another.  Each of these characters are damaged in some way.  The only one that tries as hard as possible to hide the damage is Zatanna.  She’s outwardly confident, but doesn’t seem to be truly confident in herself.  All the other characters’ issues make them almost unapproachable in comparison.

From a character angle, this series is absolutely fantastic.  After all, how many team books do we really see where there just doesn’t seem to be any way imaginable that this group can honestly like each other?

Again, Mikel Janin just knocks the art out of the park.  There is no more beautiful book being published today than this one – at least from the big two and everyone else is going to have a real hard time convincing me this book isn’t the most beautifully drawn book in comic shops.  Every nightmare is damn scary but so gorgeous at the same time.  Every single page and every single frame is heads and shoulders above anything else at DC and has imagery that just sticks with me.  To me, it’s similar to what was seen in the first two Hellraiser movies.  No matter how grotesque the image you are looking at is, there’s an undeniable beauty to it that not only sticks with you but keeps you from turning away.  Janin is channeling the same mix and it simply enhances this book and Peter Milligan’s script to another level.

All that and now the series is entering a crossover with yet another gorgeous and interesting series from DC’s Dark corner of the new Universe, I, Vampire.  I literally can’t wait for next month.

More Justice League @ acomicbookblog.com/tag/justice-league

A new member is joining the Secret Avengers even if Hawkeye doesn’t like it.  Could the team also be suffering its first casualty as well?

Secret Avengers #23

The Adaptoids are returning to “Father” with their cargo – a woman who they are calling a “descendant”, an artificial intelligence that was created to evolve into a near perfect being and her son.  What they don’t know is that Ant-Man is catching a ride with them.  When the woman refuses to hand over her son to Father to reach his true potential, he orders her execution.  Ant-Man springs into action, but is unable to prevent her murder.  He is able to escape into the city with the kid.  Captain America brings Flash Thompson to the Secret Avengers satellite base to have him join the team, much to Hawkeye’s dislike.  They are not able to settle the matter though as they find Ant-Man and go after him, but they may not be able to stop the Adaptoids from stomping the diminutive anti-hero to death.

This book is chock full of nice story points courtesy of Rick Remender.  The bulk of the book focuses on Ant-Man’s struggle to do good things to make up for the bad things he typically does.  The motives behind his heroic actions fade when he desperately tries to save the mother and her child.  When he fails her, but is able to make off with the kid, he’s in an impossible situation.  For a character that isn’t easy to truly like as a person, you really begin rooting for the little guy.  I don’t doubt that he will survive his beating from the Adaptoid, but you get to a point where you are shocked and scared for him in those last couple of pages.  The rest of the team has arrived, but it might not be enough.  There’s a great deal of emotion in his story.

In general there’s a lot of other things going on in the book that can’t be overlooked either.  There’s connections to Spider-Island and the Circle of Four stories from Amazing Spider-Man and Venom’s solo title respectively.  Plus, it appears Hank Pym may have found a way to make Venom a controllable force that can help the team.  Clint Barton has some important bits also.  He’s not adjusting well to his position as leader.  He gets a friendly lecture from Beast that was needed, but also kind of lighthearted and funny despite the seriousness behind it.

Overall, this is the type of stuff I wanted to see in this book after Brubaker and Spencer.  Yeah, it’s not the trippy, upper-level story telling that Warren Ellis brought, but it is truly well written on the spy/action level and man, the book is loaded with words.  I believe this book has more words than at least three of the other books I reviewed this week combined.  I don’t know if I’ve ever made this type of comment before, but this book is worth every penny of the $3.99 price tag based on word count alone.  Yeah, I’ve probably said a book is well worth the price of admission based on a fun story, or great art, or whatnot, but I think this is the first time I can stand up for the cover price simply based on how long it took for me to read it.  It fills my heart with joy to say that.

Gabriel Hardman’s art fits this book so well.  It still has an “Avengers” look to it, but the look takes it to a grittier level as well.  It’s hard to imagine this book really working that well with someone like John Romita, Jr. (which I would NOT want), or, say, Pasqual Ferry on art.  This title needs to be darker or rougher.  It’s a much more “dirty” book than most hero titles.  It works best with a Deodato or, in this case, Hardman drawing it.  When I think of the Secret Avengers, I think of them doing things they can’t let others know about or doing the dirty work that the other Avengers teams wouldn’t do.  Hardman’s style definitely fits the bill quite nicely.

This new era in the Secret Avengers title has lived up to what I hoped it would be.  This book is definitely climbing back up the ladder to be my favorite Avengers title again.

More Avengers @ acomicbookblog.com/tag/avengers

Q:  Where does the 800 pound gorilla shoot his automatic weapon?  A:  Anywhere it wants.

Winter Soldier #2

We find Bucky and Natasha right where we left them; facing off against the aforementioned Gorilla.  Once Magilla realizes he’s about to be outflanked, he escapes – via jet pack.  How awesome is that?  Last issue’s plan to assassinate Dr. Doom predictably falls through and our heroes are left to wonder if they should be more afraid of the bad guys who uses former Soviet super killers to try to assassinate Dr. Doom or, as the case seems to be, the bad guys who realized this plot had no chance of succeeding and are just trying to manipulate him.  Although The Red Ghost and Lucia von Bardas have not yet revealed themselves, they’re very much in play during the story.  Meanwhile, Bucky remembers more about the three sleeper agents that are under the bad guys’ control, and the tease of their inevitable confrontation sounds promising.  Next time, it looks like the baddies have more tricks up their sleeves and will continue to stay at least one step ahead of our heroes.

I can’t say I love the pacing or layout of this issue, but Butch Guice’s art is lovely and is only outdone by Lee Bermejo’s covers.  The action is captured in a way that almost reminds me of the closeup/quick editing that plagued Batman Begins, but it’s not a serious issue.  I’m enjoying the story, but I’m wondering if they’re not giving Ed Brubaker enough pages per issue to work with…  it’s as if he has so much story to tell and he just doesn’t have enough room to get it done.

I like to fancy myself as something of a Captain America expert; after all, I own every issue of every volume (although I am missing some issues of Captain America & The Falcon, but hey, it was the 90s…  some brutal stuff came out during this era), but I must admit, I’m not familiar with The Red Ghost and Lucia von Bardas.  Maybe I’ve simply forgotten them, maybe they’re not necessarily Cap characters, and while I don’t expect Brubaker to define who Bucky and Natasha are, I could use some more background on who these people are.  Nevertheless, their motivations are clear, and that’ll do for now.

Still, Winter Soldier remains a fun read even if this issue ends up being forgettable in the long run.  It’s clear Brubaker has a master plan and knows exactly where he’s leading us, and right now I’ll need to be patient as we continue to move there.

More Cap @ acomicbookblog.com/tag/captain-america

The Walking Dead cranks up the action in this week’s new episode “Triggerfinger”.  Click More to read the review!

Season 2 Episode 9: Triggerfinger

Lori is in an overturned car with a walker trying to get in to have her for dinner.  The walker tries pushing himself through the broken windshield to get at her until she breaks off the turn signal lever and stabs him.  Another walker arrives, but she’s able to get to gun before he can get to her.  In town, Rick, Herschel, and Glenn has a similar issue with danger, but not with the dead.  Dave and Tony’s friends have come to find them.  As they try to enter the bar, Glenn forces the door shut.  Rick tries to open conversation, but they are fired upon.  Back at the farm, they realize Lori has gone after the guys at the bar.  Shane goes out to find her but only finds the car and the dead walkers.

When Rick, Glenn, and Herschel try to get to the car, they are shot at by two attackers.  They down one, but walkers come and finish him off.  Another attacker tries to jump off a roof into a truck that is leaving as more walkers approach.  He lands on a fence with his leg run through.  Rick doesn’t want to leave the kid, so Herschel tries to cut the leg off but they are overrun and force the kid’s leg off the fence post.  Shane finds Lori and tells her that Rick and the others are back at the house, even though that is not the truth.  On top of that, Shane reveals to the group that Lori is pregnant – something Carl didn’t know.  This also leads to a real tough conversation between Shane and Lori about their relationship.  Carol finds Daryl’s ear necklace and asks what’s going on to which he takes his frustration and anger out on her.  The rest of the survivors back at the farm are preparing to go after the missing trio, but they come back.  The arrival of the hurt kid, Randall, begins a brand new issue between Rick, Herschel, and Shane.

Separately, Shane and Andrea talk about how dangerous Rick’s actions and decisions are, and Lori and Rick discuss how dangerous Shane’s actions and decisions are leading to the inevitable showdown between the two alpha males of the survivors.

This episode, while boosting the action, definitely plays out much more like a thriller than anything else.  Yes, we start out with a great deal of action and tension with Rick, Glenn, and Herschel trapped in the bar trying to escape from Dave and Tony’s pals.  There’s a shoot out and a fair amount of thrills as they hear all the usual noises, creaks and face shooters laying in wait around corners.  The scene succeeds with intensity and the more classic shootout showdown type of set up, but then kicks it up a notch by having the walkers come out from everywhere creating a problem for both our heroes and the guys they are trying to get away from.

Along with that, we also have a decent horror scene with Lori in the wrecked car with a couple walkers looking to get to her.  Like the above scene at the bar, this scene has a much more classic feel to it.  It’s not so much that these scenes are original, nor is it so much that these scenes are unexciting for using these types of set ups, but what both scenes do is play to the episode quite well.  The scenes mix excitement, tension, and scary to keep us on pins and needles right out of the gate.

Both scenes use gore quite well.  Like all good gore, it doesn’t go for the jugular.  Instead, it just makes the audience wince.  First, there’s the walker pushing its face into the broken windshield.  As it is mindlessly pushing its face in through the broken glass, it’s skin is peeling back like a potato.  As gross as that sounds, and as much as I hate gore for gore’s sake, that’s a shot that I audibly said, “Oh that’s awesome.”  It’s quick and the shot doesn’t linger which makes the shot that much more memorable and cool as opposed to just be gross.  It’s the type of shot, for those who saw it, could be a memorable moment for the entire series.  In the escape scene, the fence post through the kid’s leg is used differently.  That particular wound is seen often, but the whole situation with the walkers closing in, the trio talking at a normal tone of voice about what to do with him, the constant trying to move his leg making him scream out in pain over and over kind of desensitizes us to it all.  The first glimpse makes us wince and say “ouch” but as the scene continues, we’re almost chuckling at the injury than seeing it as gross.  This series has done that so well with making the more graphic things more laughable (in a good way) than straight up gory.

The real climax to this episode happens when Shane and Lori talk about their relationship.  Lori stays true to her “I’m whatever I am right now” mode of expression and personality and stays firm in trying to keep her time in Shane’s pants more of a figment of both of their imagination.  That’s not exactly fair of me to sum it up in that way, but with the situation as it is with zombies walking about, emotions running high, and guns everywhere, maybe really trying to approach a man’s wife sleeping with his best friend is a little more touchy than it once was.

If there’s one word that could really sum up this entire season it would be tension.  I’ve used it in a lot of reviews, but with this year focusing more on characters and the relationships between them, it’s lead to more dramatic moments like the scene between Shane and Lori.  Lori is desperately trying to move on now that Rick is back.  She’s not even willing to remember her romps with Shane, let alone wanting to talk about it.  Shane, on the other hand, is completely and totally influenced by Rick returning in all the negative ways.  He’s fallen for this woman and she’s trying to push him away.  Any guy who has fallen for a girl who tries to push him away knows how nearly impossible that is.  Then, add to it the pregnancy, and it’s all downhill from there.

As rarely as I have talked about the acting in this series, this is one time it’s much more obvious that these actors truly embrace their characters.  Jon Bernthal and Sarah Wayne Callies take the second half of this episode and really make it their own.  Bernthal’s unraveling as Shane has been almost hypnotic as much as it has been frustrating.  I can’t wait for him to get laid out by Rick or Daryl, but having him as an immediate threat to just about everyone around him is so damn fun to watch.  The same goes for Callies’ Lori.  I still border on despising that character, but the way she plays a character that isn’t well liked is ballsy.  I can’t imagine many people looking at the Lori character and saying, “I like that lady.  She seems to have everything worked out well.”  It’s not easy for someone to play a part that no one will fully sympathize with or truly even have many positive feelings about and she not only nails it but makes any reader of the comic happy she’s playing it that way.

The end of this episode is absolutely fantastic and feels like we’ve been building toward this for all 15 episodes of the series so far.  Readers of the book knows Kirkman typically writes certain issues with a particular cadence to them.  This episode follows that same “formula”.  First, it’s Shane and Andrea starting to pull some sort of plot together to figure out how to keep Rick from getting everyone killed.  Then, it’s Lori talking to Rick about what she feels is going on with Shane leaving that icy glare from Rick that almost entirely telegraphs what the next phase of these former best friends’ relationship is going to be.  Rick’s expression is almost evil, but it’s almost a culmination of finally realizing that while he’s been looked at as a leader, it almost paints him as a target…  Unfortunately, the one who has him in the crosshairs is the one person he thought he could trust the most.

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In sunny Orlando, FL we’ll be spending all day Saturday perusing the convention center during Megacon 2012, and all the while we’ll be live blogging as we visit panels, bump into creators, cruise artist alley, dive into long boxes, or see anything…”interesting.” So follow us here (and/or on twitter, our feed you can see on the right sidebar) and don’t miss a beat!

8:37: On my way. Need coffee.

9:21: And we’re in! line. http://ow.ly/i/sZFc

10:18: Waiting for the DC panel to start http://t.co/Vr4ZzABx

10:32: DC panel begins! http://ow.ly/i/sZYq

10:42: When asked about the twisting issue of Batman #5 Greg Capullo stood up for a roaring cheer.

10:47: Dan on his upcoming Superman, specifically Jimmy Olsen, “bedbugs” Mmmm…

10:49: On Power Girls design: there is a reason for the change, just stick around.

10:52: On an older fan saying some of the magic is gone, being disappointed; Dan DiDio handles it well, explaining that characters change over time and adapt. That the characters have existed for as long as they has because they’ve adapted for a new generation.

10:54: Dan DiDio says they’re working towards Superman #900, hinting toward returning back to original numbering?

10:59: Dan DiDio, “If someone in the New 52 dies, they don’t come back.

11:07: Dan DiDio says they’re reestablishing original characters then introducing new ones.

11:10: Asked about Ted Kord and Wally West and Dan Didio laughs and moves on.

11:11: “They’re not dead.”

11:16: Wednesday Comics 2 is being considered

11:28: Asked about who the audience is for the New 52, Justice League specifically. DiDio said each book has its own audience.

11:40: Dan Didio and I. Love that guy. http://ow.ly/i/t0go

11:42: Greg Capullo and I. Guy is ripped. http://t.co/HkLzwKvw

2:30: Alright, finally catching my breath. Talked to Darwyn Cooke, Greg Capullo, Tim Sale and more. Will update with pics.

2:45: Getting a sketch done by Tim Sale while we discuss my favorite scenes from Batman: Long Halloween.

3:07: Page from Darwyn Cooke’s Before Watchem Minutemen http://ow.ly/i/t12j

3:16: Cooke says the Internet goes crazy about Before Watchmen but all he’s getting today is congrats and fans saying their excited. I was one of the excited. Darwyn Cooke doing Watchmen, fail to see what’s wrong there.

4:02: Tim Sale says Captain America White is “still happening.”

5:01: The cutest cosplay ever http://ow.ly/i/t1nC

5:34: Alright, it’s winding down. About to shake hands with Dave Prowse, THE Darth Vader, well say hey to the guys at A Comic Shop and were out.

6:30: MegaCon is over [for me]. A full update with pictures and quotes is forthcoming.

Check back later for more updates!

More Updates on Twitter @acomicbookblog

Our friends at Aspen Comics have a new ongoing series Broken Pieces, and it’s not too late to hop on. After uncovering a certain secret Dr. Richard Adams witnesses his life begin to fall apart and his following decisions will not only influence his own future, but that of all mankind. Aspen created the above trailer and a full preview to #2 in the article.

And Solomon Grundy has no clone. We lied. Dr. Richard Adams is much more interesting.

From the solicitation:

Dr. Richard Adams’ life has been torn apart by a horrible discovery made by his wife Gabriella. However, the astounding breakthrough they made in the science of bio-rejuvenation has left Richard with a small shred of humanity to cling to, as everything else crumbles around him. With the odds of survival diminishing by the second—Richard will be forced to make the mostconsequential decision of his life, one which will effect the future of mankind itself!

Written and created by Aspen’s own Mark Roslan and featuring stunning artwork by newcomer and series artist Micah Kaneshiro, BROKEN PIECES will keep you on the edge of your seat from start to finish!

[Aspen Comics]

Broken Pieces #2 is out Wednesday February 22. Don’t skip it!

More Aspen @ acomicbookblog.com/tag/aspen-comics